Of comebacks and coming of age

One of the strongest comebacks in recent memories

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Slowdive — Slowdive (Dead Ocean Records)

Slowdive had exhibited their fascinating progress during the first period of their career, debuting as a successful pop band with 1991’s Just for a Day, perfecting their own thrilling guitar-pop dream with 1993’s Souvlaki and then exiting on the post-rock experimentalism of 1995’s Pygmalion. Reuniting in 2014 and having toured reasonably since, the band has reminded the listeners all over the world why they are an essential and significant band in the history of guitar music. The band’s reunion has only served to underline this significance. Opener Slomo sets the tone for the rest of the album, where music bonds and moves beneath a smooth riff. Slowdive has all the melodic ingredients that have long made the band fairly accessible. As an effort to please newcomers and established fans alike, the album succeeds at exploring new realms for Slowdive. Following the opener is the band’s most mischievous song to date, Star Roving, a pleasant flirtation with post-punk and one of the most worthwhile revelations on the record. Neil Halstead and Rachel Goswell’s synchronised vocals fit beautifully together on No Longer Making Time and work flawlessly over the tedious guitar works crafting a bittersweet experience. Perhaps the most stirring track is Go Get It, a song that feels the furthest from Slowdive’s typical sound, venturing into post-rock territory reminiscent of another gripping track Talk Talk. Sugar for the Pill and Star Roving feature Rachel Goswell’s saintly falsetto over a sparkling, dreamy landscape and Simon Scott’s unfaltering drumming. Contrast has always been a focal point of the band’s sound, unfurling with subtle grace. The album closes on the beautifully epic Falling Ashes. The flashing piano that anchors the track bears a notable similarity to Radiohead’s Daydreaming, from their album, A Moon Shaped Pool. The 22-year break between albums has not affected Slowdive’s ability to record a fantastic piece of music and the comeback album fittingly serves as an announcement that the band still means business. 

Essential tracks: Slomo, Sugar for the Pill, Star Roving, Falling Ashes

Rating ****

At his diverse best

(Sandy) Alex G — Rocket (Domino)

Since the immensely-talented Alex Giannascoli, now known as (Sandy) Alex G, released his most recent album, 2015’s Beach Music, his fame and respect have considerably widened. All thanks to Frank Ocean, who recruited him to play on his two 2016 albums, Endless and Blonde. Rocket is the singer /songwriter’s first LP officially under the (Sandy) Alex G mark and his second for record label Domino. The collection does have a permissive feel when Alex ups the ante, but that does not abandon the album’s folk pursuits. The album opens with Poison Root, a track that singles out wisps of violin, bringing the soft string ambience of Arcade Fire’s Neighborhood #4 to mind. The distinctive, muted feeling of classic Alex G is still a driving force behind Rocket’s short and sweet 14 tracks, but there is a sheer lavishness across the album that results in some of his musically strongest material to date. Brick steers towards industrial punk, while Sportstar is a glossy slice of piano-driven electro pop. The songwriting and vocal execution is strong and manages to retain his edge when it comes to writing a memorable verse and chorus. On upbeat country rocker Proud, Alex’s words turn biting as he coos mockingly, “I wanna be fake like you/ Walk around with rocks in my shoes.” The latter half of the album sees him return to typical sounds and moods that have come to typify his music. Towards the climax of the album, the violin in Powerful Man spreads a sense of melancholy while the jazzy bass line, saxophone and group vocals on album closer Guilty provide an amusing and cheerful end.

Essential tracks: Sportstar, Brick, Witch, Guilty

Rating ***

And the band matures, with grace and power

Afghan Whigs — In Spades (Sub Pop)

After their breakup in 2001, with the exception of front man Greg Dulli and bassist John Curley, the band stands restructured with all new members. The Afghan Whigs continue to please with their hypnotic and melodically satisfying music as they release their eighth album since 1988. In Spades is an impressive album that recalls the highpoints of The Afghan Whigs’ long and varied career. With lyrics rich in spirituality and spectral imagery, the band chooses to reflect the mood even on the monochromatic album artwork designed by Christopher Friedman. In the slow burning opener Birdland, they blend string arrangements with heavy harmonies and frantic vocals for an easy but emotive opening that sets the mood for the record interestingly. Of the slicker cuts on this album, the swaggering Toy Automatic stands out, while Arabian Heights offers a blast of drums with a chord progression that makes you want to move. Bluesy and commanding, Demon in Profile showcases what Dulli does best, spread pure energy. “This electricity/ It was all that I wanted/ Now it’s killing me,” he laments. Oriole and I Got Lost see the band dimly touch upon country influences while Light as a Feather plays like flooded rock. Each track demonstrates the band’s fearless embrace of eclectic styles and experimentation.

Essential tracks: Birdland, Demon in Profile, Arabian Heights, Oriole

Rating ***

A powerful interpretation of rock

Mark Lanegan Band — Gargoyle (Plas America)

Mark Lanegan is your old-time rocker. Having been a founder member of grunge pioneers Screaming Trees and a member of Queens of the Stone Age, his albums are critically acclaimed, yet, he remains a stranger to commercial music. His new 10-track album features guest appearances from long-time collaborators Josh Homme, Greg Dulli and Duke Garwood. Implementing the electro influences he explored on Phantom Radio, Gargoyle gets the mix just right. Death’s Head Tattoo opens the album with tight beats and blurred guitar washes. Nocturnes set the tone, positioning Lanegan’s temperamental roar of a voice over rattling keyboards and throbbing rhythms. “I’m the target and the gun,” Lanegan sings in Drunk on Destruction, giving the album its biggest kick of traditional alternative rock. Dark, intense and beautiful, Gargoyle takes huge strides across flourishing sonic territory, always complimented by Mark’s well-worn voice. Highlights include the delicate late era Dylan sound of Goodbye to Beauty and the swirling Blue Blue Sea. On the most upbeat track, Emperor, long-time collaborator Josh Homme’s falsetto harmonises well with Lanegan’s hoarse baritone. “On water still, my boat violently shaking,” he sings over foot tapping chords. It sounds like a lost country classic, reminiscent of Willie Nelson’s storytelling. Old Swan closes Gargoyle with a philosophical meditation, an ode to existence and motherhood.

Essential tracks: Nocturnes, Goodbye to Beauty, Blue Blue Sea, Emperor

Rating ***